This disc brings together two substantial concertos. Each is
in three movements though the Triple Concerto’s three are separated
by two brief interludes. The late and lyrical Triple Concerto
was premiered by Sir Colin Davis and the LSO at the Proms on
22 August 1980. This speaks of Tippett the musical Taliesin,
spinning a diaphanous bejewelled cloak of quietly jangling bells
- very much Prospero’s island. The middle movement is restful.
The last is a torrent of orchestral colour and grandeur. Gamelan
textures - more familiar in Britten - can be heard throughout.
Tippett the alchemist here leans in absorption over the alembic
of his orchestra and draws out singing tones and long yearning
lines. The trio ‘sing’ their parts beautifully and their nostalgic
slow theme vividly reminds me of a hand cutting lazily through
sun-glittering water (tr.1 9:33). The instruments are in carolling
dialogue but their relationship often strikes me as being in
conflict as if they must hurt each other to achieve exaltation.
After so many masterful moments am I alone in wondering at the
unsatisfactory way the concerto ends? There is competition in
the shape of the Philips recording coupling Pauk/Imai/Kirshbaum
with the Concerto for Orchestra and the identically harnessed
Chandos (Hickox).

The Piano Concerto is much earlier (1955). It chimes into existence
with a pearly gentleness; occasionally sounding like the John
Ireland or Rubbra concertos. It does however rear up occasionally
with overt heroism. It was intended for Julius Katchen who later
withdrew. It was Louis Kentner who took his place at the premiere.
This was given by the commissioning orchestra, the City of Birmingham
Symphony. Beethoven’s Fourth Piano Concerto - a performance
of it by Gieseking - formed the work’s inspirational ignition.
It has not become popular. The concerto sports an occasional
heroic approach. When in clamant dramatic mode Tippett seems
startlingly Brahmsian. Occasionally I also thought of the leonine
Medtner in his Third Piano Concerto. There is much glistening
crystalline passage-work for the piano. Tirimo gives an impressive
and emotional performance and is seemingly fully equal to the
concerto’s challenges. For years this work was represented by
the 1965 EMI LP (Ogdon/Philharmonia/Colin Davis) which is still
worth experiencing.

The disc is complemented by an extensive note by Geraint Lewis.

A unique and generous coupling of two contrasted works. Of the
two it’s the magical Triple Concerto I shall return to most
often.

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